New blood in an CAR­RIE

Sunday Tasmanian - Tassie Living - - MOVIES -

Chloë Grace Moretz, Ju­lianne Moore, Gabriella Wilde, Judy Greer, Por­tia Dou­bleday. Di­rec­tor: Kim­berly Peirce (

Stars:

THERE was much huff­ing and puff­ing of the “how dare they?” va­ri­ety when news first broke of a Car­rie re­make. Di­rec­tor Brian De Palma’s 1976 adap­ta­tion of the Stephen King novel was both a gamechanger and a gut- wrencher, cul­mi­nat­ing in one of the most ick­ily iconic fi­nales in horror movie his­tory.

While the new Car­rie will never be re­garded in the same way, it hits all the hard shocks it should.

The film opens on an omi­nous note. A woman is ly­ing on a bed, howl­ing in pain. There is some­thing so un­hinged about her cries that it takes some time to re­alise she is ac­tu­ally giv­ing birth.

It is a creepy scene, all the more so be­cause it takes this lady a seem­ing eter­nity to de­cide whether she will keep or kill the baby.

Cut to 15 years later, and the same woman ( played by the ever- in- the- mo­ment Ju­lianne Moore) is crazed as ever, prone to end­less re­li­gious ram­blings di­rected at her only child.

Car­rie ( Chloë Grace Moretz) hears much of this chill­ing chat­ter from in­side her “prayer closet” – a locked cu­bi­cle to which she is in­vari­ably ban­ished by her mother for sins too triv­ial to men­tion.

Dowdy, down­cast and al­ways on edge, Car­rie stands out at school like a sore thumb. There is no relief from the hell of home life to be found here. In fact, things are worse for this poor girl.

Not only is the tra­di­tional on­set of wom­an­hood freaking Car­rie out. With pu­berty comes a rapidly de­vel­op­ing set of tele­ki­netic pow­ers she is un­able to un­der­stand, let alone con­trol.

All threads of this un­set­tling tale are due to be tied up in a fa­mously fright­en­ing fi­nal act at the high school prom. Just as Car­rie is on the verge of be­ing ac­cepted by her peers, one of them moves to make sure this never hap­pens.

Un­like be­fore, how­ever, Car­rie is ready to strike back at any­one who dares harm her. Save for a few mi­nor tweaks, di­rec­tor Kim­berly Peirce fol­lows De Palma’s bloody blue­print for this dis­turb­ing cli­max to the let­ter.

As orig­i­nally de­signed, it is a se­quence that se­ri­ously messes with your head and re­fuses to About Time Ado­ra­tion Af­ter May Cap­tain Phillips Car­rie Coun­selor Grav­ity Mr Pip On My Way One Chance Rush The Hunger Games: Catch­ing Fire Thor: The Dark World straighten ev­ery­thing up af­ter­wards.

The film owes much to the dam­aged dy­namic at work be­tween Moore and Moretz. Both are al­ways on the brink of ei­ther ex­plod­ing or im­plod­ing.

What­ever hap­pens and in spite of many over­pow­er­ing urges to look away you won’t be able to take your eyes off them.

Now show­ing Vil­lage Cine­mas ( Glenorchy)

A LIKE­ABLE enough French road movie that zigzags from the odd­ball to the pre­dictable as it pleases. Per­haps a lit­tle time spent mov­ing in the one di­rec­tion might have been the right idea. Di­rec­tor Em­manuelle Ber­cot’s scat­ter­shot ap­proach does not al­ways make the best of a won­der­ful per­for­mance from vet­eran French star Cather­ine Deneuve. She plays a fraz­zled restau­ra­teur who re­acts to her re­jec­tion from a younger lover by jump­ing in her car and leav­ing ev­ery­thing be­hind.

Now show­ing State Cin­ema

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